Jimmy, I forgot to ask as well: Back in the thread about a Series guitar straight into a commercial power amp, you mention a 'boost amp' to get you to the right level for it's inputs. So what would that be, and I'm guessing it wouldn't be the typical channel strip or mic pre with all the extras for EQ, etc.

I'm NOT the most electronically-fluent, so I kept trying to think of an impedance matching box/transformer, but that does nothing for signal level, only impedance right?

I can do a hell of a setup, just DON"T hand me a soldering stick and a wiring diagram !

Yeah Joey, I'm self-taught on this stuff so don't really know what I'm talking about. When I get stumped I direct my questions to Mica, Ron, or somebody with actual knowledge...

What I was writing about was my understanding that the output of a cranked Series II might not quite be "full" +4dBu kind of line level and so may not drive a power amp to it's max output. When I've run the bass this way it's worked fine for me, plenty of level, super-clean and super-fast. (I may have, years ago, changed one resistor on my preamp boards to get a touch more gain, I'm sorry I can't remember the details...)

What I was thinking about was, if you needed the amp to run to peak power output you could insert a very clean "buffer amp" between bass and amp for a few db of extra gain. But this kind of defeats the purpose of our straight wire magic trick. Ha! And the sound of that buffer would be important if you wanted to keep it all pristine.

Plus, once you think about adding something into the signal chain you might as well look at a line level EQ maybe with a gain adjustment, or a channel strip. Then you will have created a unique amplifier rig.

The outputs of our basses are considered low-impedence although I have no idea what the value is. And my crude understanding is that as long as the output of one piece of gear has a lower impedance than the input of the next piece of gear you are good to go. Power amps seem to be in the 10k-20k range so I think both sides should be happy. We shouldn't need any transformers between the output of our bass and the input of a power amp UNLESS we need to isolate the ground of the different gear involved (think ground lift switch on a DI box).

I've just started experimenting with a new tiny rig based on the API 500-series gear. So I'm trying to learn or relearn a few things (even at my advanced age) about transformers, impedance, etc... If I discover anything I'll let you know!

Looks like that EBS box does everything but make you breakfast. I'm sure that combined with a power amp and speakers of your choice would make a fine bass amp combo. It looked like Stanley was using it for his upright and not his Alembics but it wasn't clear to me.

What we're talking about in this thread is minimal gear in the signal chain. Not everybody's cup of tea. Stanley's rig is much more ... maximal. Ha!

Very interested to hear/see what you are experimenting with on the API 500-series rig Jimmy.

I see that one would have to buy a lunchbox base unit with XLR only outs, to connect these modules? Which specific modules are you experimenting with and for what scenarios (recording, live, both)? Thanks again for sharing.

Fear not, Joey - I once was as you are, and there is hope! Your assignment: Cross your fingers, read/watch some how-tos, then just jump in and rewire a semi-hollow. It'll do worlds for your confidence (or drive you to madness).

This interview with Bass Player (from March, 2015) includes a complete list of his equipment. It's where I discovered that we both use Thomastik Spirocore strings on string bass, despite the fact that he never asked my opinion :

This topic is of vital interest to me because I have disc disease and have to lighten my load (I blame the Ampeg SVT I insisted on hauling around for years, instead of following everyone's advice to install an engine and wheels and just drive the damn thing to gigs). My Scottish father-in-law warned me that marrying a Scot could result in a little loss of spine, though, but I wasn't expecting this.

The worst case scenario is that I'll wind up in a wheelchair, which should make playing my long-scale Series 1 interesting (it's 148," I think). But I'll do it anyway, if I have to fret it with my toes. After playing bass for 49 years, I'm finally learning how to play the damn thing. No sense quitting now, right?

On the upside, I'll soon get to have a Da Vinci robot fire a laser beam at my spine - honest - and I'm just enough of a geek to look forward to it, but not so much that I'd wear a costume to a Comic-con (the Foghorn says I look enough like a Klingon as it is).

While I appreciate your endorsement of the "whatever floats your boat" approach, the Foghorn is a rabid JT fan and we've seen him approximately umpteen times (I've managed to talk her out of throwing her underwear so far, on the basis that maybe he doesn't need a spare car cover) so if I told her; "well, James Taylor's bassist (no, not the one who looks like Gandalf) said I simply MUST have the Illudium Q-36 Explosive Space Modulator ..." that'd be enough to pry the checkbook from her iron grip.

Like Stanley Clarke and James Jameson, upright is my first love (I like to slap it, too. Yeah, I said it) so the rig I've worked out over the years is amenable to both upright and Alembic, biamped high/low so I can just A/B between them. (With a nifty Paula Abdul-like dance move to switch instruments.)

So far, the power amp/F-1X(EBS?) combination sounds promising, as does using the Cletus method to saw two or three feet off the neck of my Alembic, if worse comes to WAY worse.

Either way, I've got some downtime coming up to think about it. Thank you for your help.

Of course we'd have to say that whatever it is that Stanley is doing is working just fine!! What I get from that video and article is that I think he's mostly using the MicroBass for his upright. 'Cause how many tone controls does a guy need? The Microbass is the frontend of a 2-channel bass amp complete with effects loop, overdrive and balanced DI out. Then he's got two Alembic pre's, presumably one for each pickup of his electric basses. Then he's got even more tone controls on his Ampeg amps... To me that seems crazy - like 3 preamps in a row - but that TONE he gets is undeniable!

So like I say, to each his own.

And furthermore - 97.2% of the sound comes from our hands! If you or I were handed Stanley's bass we would not sound like Stanley. The last 2.8% is all about our personal choices in gear and the right gear for you is whatever makes you smile and inspires you to play.

Brian, I'll let you guys know what I get up to with the experiments. I'm looking for a bit more options in a mini traveling rig.

My understanding is Stanley goes into the Alembic preamps and these go into the effects or aux in of the Ampeg bypassing the tone circuitry. So basically he is just using the Ampeg as a power amp. When I saw him at an acoustic gig with Hiromi he had an Ampeg 4x10 and was using what at the time I assumed was a Fishman preamp. My guess after seeing this is it was the Microbass. And yes it is all in the fingers. I just wish mine would show a little more team work but somehow they always manage to get in each others way.

Yeah Keith, that makes sense. In Stanley's video I believe he's running the upper Ampeg head as a stereo power amp with the Alembic pres. The lower Ampeg head is for the upright and, since he's plugged into the front of it, a second set of tone controls after the MicroBass. Glad we figured that out!

I could see closer to you than before so I could also see your right hand techniques well. But it's still like magic that your making many tones only with your fingers. BTW I was surprised at much more powerful sound of the band than I expected. So cool!

Thanks for the kind words. Glad you enjoyed the music, some nice moments tonight from all the band members. But sorry we didn't get the chance to chat. Feels strange to do autograph sessions after these shows (!!) but all drummers must get Gadd's signature. I understand.

I want to apologize, because I may have committed a disservice to you by bringing up another musician. You are unique, and I regret inadvertently implying comparison..

I had the honor of playing with Nokie Edwards of the Ventures, because the Foghorn and I went to a restaurant where he and his friends had been meeting since the 70s to have breakfast and play guitars. So we got to know each other over waffles and hash browns.

It was like a musical cocoon. Just to be there was an honor, because he has to endure the fame. The collectors, who "happen" to show up with stacks of albums for him to autograph. Or lunkheads bringing up other musicians and peppering him with questions about equipment. (Ahem.)

And that's not who he is at all. Nokie Edwards is plugged into the same place As Mozart and Django and Holdsworth.

And you.

Mark Twain said that the curse of fame is having complete strangers stop you and tell you what they think of you.

The only reason I dragged Stanley Clarke into this is because I use this for my upright:

You can use all the outs at once (though I can't imagine why anyone would want to). The mute button is a godsend, especially with the way I play

This thing is idiot proof, and I am both. I have it mounted on a mic stand exactly 42 inches to my left. Done. No more turning around to twiddle. Like you said, after that it's all in the hands.

They stopped making them a long time ago, though. So finding something that will do the same thing - simply - for the Alembic is just my gear addiction talking. I'm afraid it's a symptom of the poor impulse control that comes with playing such a bombastic instrument.

I regret doing that guitar geek thing to you, especially here. I'll try to keep it under control.

Hey no prob you guys, no offense taken. I'm just in here to shoot the breeze with you all. I count Stanley on my short list of influential players from way back, so I'm a fan if his too. And all is fair in gear-talk mode, right? Whatever!

I'm sure that you will find a combination of gear that works for you Forest. I'm not licensed to operate an upright so I don't have much input (get it?) on the subject. But we're lucky that these days there are so many pro frontend pieces to choose from. You'll find it.

Ah, Toshiaki. Nice to meet you ... but sorry I didn't realize it was you! Next time please just say "Alembic" and I'll know.

Hi Jimmy, Meant to also add earlier; what did you use to make this recording? What was included in your signal path as well as the approx settings on your bass if you don't mind sharing? I am just amazed at how much you are clearly cutting through in the mix in addition to your tasteful performance. Thanks, Brian

Superb playing Jimmy. Next time you're over here with JT you should bring Steve's band out in the interval. Most of the band would be there anyway and I doubt I'll get to see you all playing otherwise :-)

Brian, signal chain was DS-5 power supply into a DI box. (I think that day I was using the house's generic Countryman DI.) Bass controls are almost always the same for me; pu volume and tone controls wide open, slight Q boost on the bridge pu, master volume down a bit from the max. The trimpot balance of the two channels slightly favors the bridge pu. That's it.

Graeme, this band is playing Ronnie Scott's mid-November, that's the closest we're coming to you for the moment. And I understand it's sold out so maybe we'll be invited back.

Jimmy J, someone's bound to have asked you before, and I hate to pile on with a pesky question, but what's the story on your right-hand technique? Specifically, positioning as you do, up next to the fingerboard. I gotta' think it's deliberate, but how in the cat hair do you do it?

Reasoning - I've been experimenting lately outside my comfort zone. Typically I will end up slightly behind my neck pickup, often resting my thumb on it. (keeping in mind, my current Alembic is a Persuader 5 equipped with P/J activators) There's a lot of real-estate between that P and my fingerboard that I haven't really been using, and I do like some of the things about playing up near the board... for one, I'm able to get some of that deep upright-ish response, I guess from the extra string travel, but I find it very difficult to get any speed there. Plus, the eq'ing I'm used to is all wrong. Then there is my action, which is just stupid-low, also not condusive to playing up there.

So, a penny and a half for your thoughts or pointers. As always - you da' MAN!

PS - some of this will hopefully carry over to my Custom fretless 5-string build, as Mica and I discussed pickup locations a while back, ultimately landing on the neck PU offset 5/8" from the fingerboard, and the bridge PU offset 5/8" from the bridge.

Good question! The short answer is: I don't know what I'm doing and I'm fairly unaware of what my right hand is up to.

Remembering that my output trimpots are set to feature the bridge pu more than the neck pu, where I pluck the string is just me responding to whatever tone I'm hearing. If it needs to be deeper I end up near the neck. If it needs more bite the hand moves closer to the bridge. I think I do it automatically but I'd have to watch some video of myself playing and I'm just not up for that. HA!!

Now standby for a VERY long followup to this as I put some graphics and ideas together.....

I could see Jimmy's right hand from very close to stage at Osaka. I'm going to try to explain Jimmy's right hand.

In addition to plucking position, he has many other variations. He plucks his finger tip or belly, vertically or parallel to string, soft to hard. "soft to hard" is very simple in words but I can't express more about this. There might be more. He uses these techniques phantasmagoric! I dno't know how many tone variations he have.

Thank you Toshiaki-san, that is a very kind description! And you've saved me from trying to figure out what the heck I'm doing. Ha!

Now for my long silly thoughts... Excuse me while I put on my amateur scientist’s hat. We all understand the principle of the vibrating string. The combination of tension and length dictate the pitch of the fundamental note. There are also several overtones which speak with the fundamental (I think they’re called “partials” when they are part of the tone) plus some mechanical noise like fret rattle which together makes up our overall sound.

I believe … because the neck pu is closer to the center of the string it “hears” more of the fundamental. The bridge pu nearer the termination of the string “hears” more of the overtones or shorter vibrations. I think that generally explains why our two pickups have different tonal character, just because of the physical location in relation to the string. Make sense?

Now about this overtone series, which we can also play as harmonics (a finger resting on the string above the 12th fret divides the string into 2 equal parts and sounds the pitch one octave above the fundamental).

The overtone series continues with smaller and smaller equal divisions of the string. Split into 3 equal parts creates the next overtone pitch which happens to be an octave and a 5th above the fundamental. 3rd in the series, 4 equal parts, sounds 2 octaves above the fundamental. Etc.

The next few start to get a little squirrelly. The pitches produced are not all in line with the “equal tempered scale” which we are used to hearing (in most Western Hemisphere music).

The worst offender is when the string is divided into 7 equal parts (the harmonic roughly above the 3rd fret of our fingerboards). The pitch produced is a very flat 7th to the fundamental and pretty painful if heard as part of a chord for any length of time. (Just ask Mica about the time she could ONLY hear that ugly overtone as she was testing instruments!)

Now the good stuff! (Finally). What’s the easiest way to prevent or limit the amount of that particular partial in the sound? That would be to initiate the vibration right on that “node” so that the string has little chance of dividing into 7 parts. This is not a new idea, check this out:

I learned that from my dad who was a piano technician as well as a bassist. The best sounding grand pianos purposely strike the string right on that node so as to limit the amount of ugly 7th in the sound. This is almost impossible to do in a small upright piano and that’s why the lower strings often have a gnarly sound.

Now, what does this have to do with this thread? Well, one of the nodes of that overtone happens to be just on the bridge side of the neck pu. If you were to want the least amount of that clashing overtone in with the fundamental you would pluck the note right there! That could probably be considered the sweet spot for fundamental and overtones.

Of course, that sweet spot moves as you move up the neck and shorten the string. If you played a note on the 12th fret, the node would be 1/2 way from the spot I describe above to the bridge, etc.

So in conclusion. A-hem. This probably has NOTHING to do with the question you asked - but I believe I do generally seek this sweet spot when playing. That said, lately my right hand seems to be lurking closer to the fingerboard so I must be reaching for a deeper sound and this entire lengthy story is MOOT. But maybe interesting, I hope.

Must confess, I went back and searched for videos with you doing gigs other than with JT, and found that Toshiaki is spot-on. (this means exactly correct Toshiaki, your English is excellent) Watching your solos with the Gadd ensemble, and Holdsworth, I see a whole different side to your playing.

Funny thing is, (hang on a minute while I reach for the dunce hat) that's exactly what I learned to do in the same subconscious manner with the upright... simply move my right hand closer or further from the bridge according to what my brain tells me what bass tone the song is calling for at any particular moment.

Guess it boils down to, I just don't have the experience yet, but I feel like an important bridge has been crossed here, just with the realization there are so many possibilities with altering right hand on bass guitar as on upright.

Just struck me that today it's 7 years and a month since you jumped in on this thread in your honour and there you are again with yet another very educational & inspirational contribution, on top of all the great music you played already. Thank you for being here.

Greg, we don't hear the shift in tone with your right hand position on two pickup basses as easily: Next time you're around a P-Bass or any single p/u bass, pluck along from the fingerboard end to the bridge and it's REAL obvious. Play at the bridge with a heavy pick, and it's instant Telecaster; pluck with the fat part of your fingers at the last fret and it's instant EB-O.

I'm with Jimmy on the partials. That's why lots of basses have that dead 'B' on the D-string up the neck (interacting and increasing or restraining it depending on the neck materials as well: REAL stiff neck material like an ebony striped Alembic neck or a composite neck you never hear it. Get a funky, soft wood neck on a more simple axe, and in some cases you think there's almost a missing fret at that spot). And different axes present these partials on an individual and unique basis. This is why you have an axe that records well, but may be only so-so on stage, and vice-versa.

This sort of thing is more obvious on acoustic instruments, but it is still very present in solid bodies. The electronics are the constant, but the snowflake-like variation in wood (as in acoustics) is what gives them their sonic fingerprint for those with good-enough ears who've been able to listen to many examples of the same axe.

I'm amazed you point to the 'B' on the D-string because I have a semi-dead B-flat on my D-string. That is the only note which doesn't want to sustain like the others. And only that B-flat on that string - all other B-flats are fine.

Thing is, if I lean the headstock into the wall and play that note it sustains normally - BUT - then the 'F' on the G-string goes away.

I just figured that note in that spot resonates the wood in such a way that the wood absorbs it - I think they're referred to as wolf notes on acoustic instruments. And all we can do is learn where the oddities are and avoid them or work around them as best we can.

I still use that note, it's not completely gone. Alembic basses are SO even across the fingerboard that one single spot is not a problem. It is also an indicator to me that fresh strings would be a good idea (which seems to help).

Jimmy, someone smarter than me can nail it, but essentially it's the convergence of the tempered scale, string diameter, resonance in the neck, where the partials fall, etc., for that B and F.

Alembics are certainly not alone, and it varies from axe to axe, and I'd be very surprised it it's the same phenomenon across your family of Series axes. Interestingly, in my two axes, it's virtually non-existent on the BRB with the deluxe laminates, but prompted more easily on my green Elan with the pinstripe laminates. Not a big thing, but listen closely and you'll hear it.

We never notice this in recordings or well-engineered live shows as usually an intelligent amount of compression tends to smooth out the small variations.

Hi Jimmy! I will be in Stockholm next weekend for your concert with the Steve Gadd Band! It will be great to listen to you guys, two of my all time favorites. Do you have any time to meet during your stay? Best Regards, Jan-Olof

Hi Jimmy! Thank you for a great concert at Fasching Jazz Club!…It was amazing!! The band was smoking and the rhythm section cannot get much better. Really GREAT bass sound……...tight and deep……..Hope to see you soon again!! Best Regards, J-O-S

Thanks for making the scene in Stockholm! I enjoyed talking with you and am pleased that we agree on so many aspects of the World of Bass. From gear to sound to how we think about what we get to do. Good stuff!

I'm Sooo jealous you got to see this band Jan-olof. F/B pics look like you had a great time. it's high time bands realised that London isn't the only place worth playing in the UK. Glasgow, Newcastle and Edinburgh have some great venues suitable for medium sized jazz gigs. Worth keeping in mind if Steve's booking another tour Jimmy :-)

I agree of course, it would be great to do a more extensive tour of the UK... Heck, we're only playing 2 gigs in Germany. I think there are a couple reasons.

One is, even though most musicians know who Gadd is (and indeed some of us sidemen) owners of venues do not know this band. There always has to be a first time around as a "proof of concept". Club or theater owners are asked to take the risk in committing to an expensive band they may have never heard of and hope they can sell tickets. Fasching in Stockholm offered us 2 nights and Ronnie's in London only offered 3. I'm sure Ronnie's was surprised when it sold out several months in advance.

The other thing is, this band is kind of rare. We all play for JT, Gadd juggles Clapton and sometimes Paul Simon, Goldings and Landau have their own bands, Fowler is a busy movie orchestrator. So it's going to be a rare occasion when we can all tour together in this format. We were lucky too all be able to make this 3-week trip and so it seems they tried to cover as much territory as they could within this timeframe. Even playing 19 out of 21 nights I understand the money is tight.

And 3rd - we're all OLD dudes. HAHA!! These 6am lobby calls to make a flight on a gig day can beat you up pretty good. We all agree that we're only good for about 3 weeks of this kind of thing at a stretch.

So like that. We all hope we can play with this band at least occasionally because it's a musical treat. And the audiences have showed up and been very responsive everywhere. I expect we'll try to at least do some jazz festival work over here at some point but there's no telling because of all the moving parts involved.

Hi Jimmy. Sorry if I sounded like I was griping. If I'd seen a ticketmaster alert for the Ronnie Scots dates before they sold out we'd have most likely tried to get down to London for a few days - make a holiday of it. maybe next time :-)

You are always a great music supporter so I didn't take it as a complaint. I totally understand. Growing up in Minneapolis we had a similar problem. Not all US tours would include the jog north (especially in winter!!) so we missed a lot unless we were willing to drive 6 hours to Chicago...

As I said, if we can continue to get this combo together semi-regularly there will be a better chance of us making it around everywhere. We'll just have to see how it goes - and enjoy it when it happens!

This is GREAT!! https://www.youtube.com/watch?v=H4hE2S__gHk I really hope Jimmy that you make a live CD/DVD with The Steve Gadd Band! This group is really great…it sounds like a BAND! The two cd`s you made a really good but live its even better, more risk taking and that`s what we like…… specially with musicians on this level!!

I'm not sure, but I think Santa plays bass. How else can he wrangle thousands of elves, all those reindeer, and not have Mrs. Claus be pissed off that he hasn't made his in-law's annual Christmas Eve dinner...well, ever.

The gals and I are looking forward to seeing you with JT at the Baton Rouge River Center on 4/18. We'll be in section 115, row G, 9-12 if you have time to say hey...Also, the Old State Capitol is right next door and has some cool exhibits if you have any history buffs in the gang. Good food in Baton Rouge too if the catering isn't up to spec...

Yes Forest, JT's song "Mona" is a classic example of his dry sense of humor.

Rick, as far as I know I'm still on the tour. And it looks like Hamilton is as close as we get to Toronto so I hope you can make it. Sorry I can't offer any assistance with that, but let me know here if you're able to come.

The show in BR was fantastic; many thanks for finding time to hang with the gals and I.

BTW, do you remember if you ever played in New Orleans with Allan? I saw him once with Jeff Berlin early on, and opened for him once when Skuli Sverrisen and Steve Hunt were in the band. I think I might have missed a couple of shows...

I'll keep wishing for the Gadd Gang at N.O. Jazz Fest. Thanks again, and safe travels to you and the gang.

Good to see you and your team again, thanks for coming. Nice crowd there in BR.

I'm pretty sure I did make it to New Orleans at some point with Allan. It would have been just before Skuli. I also remember being in the van once on our way to New Orleans when Allan looked at his itinerary and saw we were booked to play Tipitina's. He had played that place before and remembered they had no air conditioning, just giant fans blowing hot air in from the street. "Miserable" he said. So in true Allan style he decided to bail on the gig (on our way there!) and go straight to the next town. Of course, about a week later we found out Tipitina's had remodeled months before and put in AC... Classic Holdsworth adventure story!

Yes, I hope the Gadd Band can get down there at some point, that would be great. Jimmy J

I remember that one...the music store I worked at was hosting a Pearce amps clinic with Allan and Ronnie Montrose before the show, and Ronnie gave us the news. It was a typical nasty-hot-and-humid New Orleans summer too, as it was during the 1983 show he played there.

Funky indeed, but not in a good way!

Best,

Ed V

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